Six albums in and The Icarus Line remain terrifying, riding a tsunami of malevolent noise, sweat and havoc while producing some of the most intense and exceptional rock music around. [Oct 2013, p.70]

The Joe Henry-produced LP is full of subtle beauty and rich imagery, but there's so much of it. [Oct 2013, p.72]

Happily her rugged individuality matches up to the grandstanding platform. [Oct 2013, p.71]

More polished than 2012's ragged debut, Acousmatic Sorcery. [Oct 2013, p.63]

Smilewound finds the woolly jumpered collective coasting through another set of impressionistic glitch-pop and clockwork exotica. [Sep 2013, p.92]

It's poppier than ever before, with big hooks played with funk and bossa nova fills, fat Balkan brass and imaginative lyrics full of bug-eyed images. [Oct 2013, p.71]

Much of this album resembles the kind of murky '80s proto-techno recently unearthed by Trevor Jackson for his Metal Dance comps, with Nik Colk Void's monotone vocals ceding centre stage to the restive machine rhythms that constantly threaten to rise up and over throw their human masters. [Oct 2013, p.67]

There aren't many groups whose experimental cojones nestle comfortably alongside arch-classicist songwriting, but Califone solved that thorny equation long ago. [Sep 2013, p.85]

The result is a provocative and sensual album. [Sep 2013, p.90]

It's more fireside snooze than woodland romp. [Oct 2013, p.68]

AM feels a considerably more self-assured album: heavy in a dramatic and confident way, conceptually strong and not without groove. [Oct 2013, p.73]

For the most part it works, the innate simplicity of the originals lending itself to makeovers, although country purists are advised to steer clear. [Oct 2013, p.77]

Roaring 20s provides cod-reggae backing for Jordan Stephens and Harley Alexander-Sule to discuss the impact of social media and the nature of fame. [Oct 2013, p.74]

While it's not a great record, the world would be a marginally better place if people were drooling over John Wizards rather than Vampire Weekend. [Sep 2013, p.90]

Nothing here is exactly restrained, but KK&TS seem to have realised that the slower burn can be just as effective as the full blaze. [Oct 2013, p.70]

[The Silver Gymnasium is] the sincerest, most heartfelt album they've yet assembled, and it's all the more powerful for it. [Oct 2013, p.60]

On The Worse Things Get, Case asserts herself less in a literal sense, but paints the most emboldening and endearing portrait of herself yet. [Oct 2013, p.76]

Mon Pays draws defiant inspiration from the recent crisis in Mali. [Oct 2013, p.67]

In short, dense, mesmerising, involving. [Oct 2013, p.63]

This record has all the earmarks of Vernon's next big thing. [Oct 2013, p.69]

A power-shower of dour. [Oct 2013, p.68]

Black gothic grandeur, but with a beige, biscuit-coloured centre. [Oct 2013, p.72]

The album tends toward generic, blocky sci-fi-tronic. [Sep 2013, p.90]

Aldred's voice has also upped a register, his yearning falsetto perfect for pocket space opera "Progress" or the lubricious Al Greenisms of "Fingers Through The Glass." [Sep 2013, p.94]

He left an enormous amount of music in those 10 years, the bulk of it gathered in this much-needed career overview of the forgotten solipsistic genius of rock’s golden age, in which the strike-outs turn out to be as fascinating as the home runs.

It's united by the long shadow of Ibizan euphoria that hangs heavy over his genre-crossing dance music. [Sep 2013, p.95]

This 11-piece ensemble of accomplished veterans positively struts on its third LP since forming in 2011. [Sep 2013, p.95]

[An] intense and atmospheric instrumental debut. [Sep 2013, p.92]